Blinkink uses the subtle imperfections of cross stitch to craft an animated campaign for Burberry

As with taking anything from one format into another, there’s always the tricky work of translation. One thing that ended up being difficult to work out was how to design each figure and form to be graphic enough to translate into cross stitched fabric, and still remain clear. “We wanted the cross stitching to look as nice as possible but if they became too detailed the images were made unclear and mushy,” says Daniel.

Each frame was stitched onto a square of blue fabric for a textured background in Burberry’s signature hue. But, “there can be some stretching with fabric though sometimes”, explains Daniel, which made it hard for the team to line up all 120 frames of the animation. The team turned to expert compositor John Malcolm Morre who “nudged footage into place”, so that the shorts 120 frames found the perfect balance between slick and handcrafted.

To tie everything together Blinkink collaborated with the studio I Want Noise, who worked on the sound design for the three ten second animations to bring a “more modern energy” to the traditional textile craft. Composer and sound designer Charlie Pelling then re-edited the music and added additional sound design for the full 30-second cut that combined all three animations, this time incorporating the sounds of machinery and stitching into the music, “almost as if they became a percussive element in the track”, says Daniel.

This whirring machine sound cleverly ties in the craftsmanship behind the embroidery and puts the animations laborious process in the spotlight – something “AI and all these amazing digital tools simply can’t replicate”, says Daniel. “The subtle imperfections that enter analogue animation as a result of human touch and craftsmanship add a warmth and humanity that stand in contrast to sterile perfection. I think we can feel that difference, and it makes the experience all the more special.”