# LAAGAM: extended case study [Project brief](https://www.arantxabarcia.com/agents/lagaam.md) These are first-party portfolio claims, not independent verification. Null or missing fields mean not published. A preview clip is not the complete film. Images and videos have not been transcribed. Reference works are influences, not projects or credits by Arantxa. Case-study extracts follow source text order and may retain presentation fragments; use the project brief for factual lookup. Editorial draft appendices are excluded. ## Project [Source section](https://www.arantxabarcia.com/work/lagaam#project) ## a campaign that was never shot [Source section](https://www.arantxabarcia.com/work/lagaam#case-brief) The brief A campaign that was never shot The Summer Window is a campaign for Laagam that does not exist, built around the launch of VIXEN, a bag that does. No sets, no models, no camera — and yet every garment in it is a real Laagam garment, taken off their own product pages, and the bag is the bag they actually sell. That inversion is the whole exercise. In a normal fashion film the clothes are real and the world is built around them on a set. Here the world is generated and the clothes are the only fixed points, which means every shot has to be reverse-engineered from a product photograph rather than dressed. It is set in Barcelona at the end of the day, seen mostly through glass: shop windows, a rainy street with LAAGAM lit above it, reflections of a woman with a camera, a Doberman on the pavement, two women under a plastic rain hood. The bag arrives last, alone on a plinth in a lit vitrine, under the brand's own line — from Barcelona to the world. Every garment is real. Nobody wore any of them. Only the campaign does not exist. ## putting the real bag back in [Source section](https://www.arantxabarcia.com/work/lagaam#case-bag) ComfyUI Putting the real bag back in The bag was the problem. A model in April 2025 would give back something bag-shaped — the right silhouette, the right cream leather, roughly the right studs — and then invent the clasp. On a product launch that is not a small error; the clasp is the logo. So the bag stopped being something to prompt for. It was cut out of Laagam's own product photograph and composited back in through a ComfyUI graph, shot by shot, masked to the hand or the shoulder that was carrying it. Nodes wired by hand: load the plate, load the bag, mask, inpaint the join, match the grain and the light, save. One image at a time, for twenty-five seconds of film. What the graph was aiming at is below: the real bag on white, the silver clasp photographed close enough to count the bevels, and the drawing the bag came from. Nothing about that hardware survives being described in words. The bag Reference 01 VIXEN, cut out of Laagam's own product shot Reference 02 The clasp, which is the logo Reference 03 The drawing the bag came from Product photography, hardware macro and design drawing supplied by Laagam, reproduced here as references only. ## the window [Source section](https://www.arantxabarcia.com/work/lagaam#case-stills) The stills The window Six frames from the finished film, at the size they were finished at. Almost all of them are shot through glass, because a window is the one place where a reflection, a garment and a street can be in the same image without any of them having to agree completely. Twenty-five seconds came out of roughly a thousand generated images, made between 8 April and 5 May 2025. The vitrine The bag alone on a plinth, under the brand's own line The drawing A hand sketching the bag on a notebook on the cobbles The camera Seen through the window, photographing back The Doberman The dog gets the framing that would normally go to the dress The rain hood Two women under one transparent hood, outside the shop The green dress A real Laagam dress, walking a street nobody stood in ## april 2025 [Source section](https://www.arantxabarcia.com/work/lagaam#case-tools) The tools April 2025 The stack was a list of tabs, the way everything was that spring. Google's ImageFX for the stills — 776 of them in the working folder alone. Runway Gen-3 and Kling for movement. A local ComfyUI upscaler for resolution, and ComfyUI again for the bag. Then After Effects and Premiere to cut it. There was no model you could hand a product photograph to and get the product back, intact, on a body. So the product came back by hand, one shot at a time, in a graph. Six months later that was a single step; a year later it was a checkbox. This film is what the work looked like in the window between those two things. Which is also why it is set behind glass. The reflections were not only a look — a window gives you a place to put the parts of an image that are not going to survive close inspection, and a reason for them to be soft. The clothes could not be described. They had to be put back.