Nike & Nigo partner to create the Ranger AF3

Inspired by Super Sentai, Nike & Nigo have partnered to create the ‘Ranger AF3.’

The shoe pays homage to the reference material through its incorporated colour scheme and graphics. Nigo himself, characterised by a big Robot in an electrifying collaboration, Nike and fashion icon Nigo have unleashed the "Ranger AF3," a sneaker inspired by the legendary Super Sentai series.

This dynamic creation fuses bold colours and striking graphics, paying homage to the iconic heroes of the past. The "Ranger AF3" is not just a sneaker, it's a fusion of fashion, nostalgia, and epic storytelling.

Nike x Nigo – Escape

Credits

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Agency Client Direct
Production Company Wizz/Quad Group
Director Gary Levesque

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Credits

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Agency Client Direct
Production Company Wizz/Quad Group
Director Gary Levesque
Producer Amanda Stubbs
Producer Matthieu Poirier
US Production Company Psyop
Executive Producer Andrew Linsk
Producer Jon San

Music/Sound Design Antfood/USA
Executive Sound Producer Sue Lee
Senior Sound Producer Trevor Haimes
Sound Executive Creative Director/Composer Wilson Brown
Sound Creative Director/Sound Designer/Composer Yuta Endo
Senior Creative Director Kimou Meyer
Executive Producer Leo Becerra
Senior Art Director Riley Hoke

Editor Antoine Gaunin
Editor Clara Mavrakis

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Director Gary Levesque said: “The inspirations are pretty obvious, I think. Voltron, Transformers etc..., anything remotely related to sentai or mecha anime. I tried to take on the role of the Nigo who watched these series as a child in the 80s, while at the same time integrating my own references. So I kept in the back of my mind the idea that this film should be made for a child Nigo watching TV on a Saturday morning with a bowl of cereal. Then I had to unfold this idea by integrating both my own desires and more universal elements. Mixing references from the 70's and 80's with more contemporary and western elements.”

“The anime opening is an extremely codified genre, imposing specifications that are fortunately great fun to divert or pay homage to. In the same way, we tried to adapt as many of the methods and know-how of the time as possible to contemporary animation tools. For example, we only used the gouache palette that Japanese studios of the time used for their sets. We wanted to do as much as possible by hand for the animation, but we used 3D ma for the mechas. Then it was a matter of making it as invisible as possible. I'm quite satisfied with this aspect, insofar as not many people noticed that certain passages were in 3D!"