The song's drop coincides with the peak of the Labubu craze, aligning sound and cultural moment. Léa applies a maximalist visual approach—clutter, noise and chaos—that mirrors metaphors of collectables, keepsakes and trinkets. Léa and Ashnikko independently referenced detailed, picture-heavy 1990s I Spy wimmelbooks. The video packs images like a digitally manipulated head inside a gumball machine and severed doll parts into under two minutes. Léa combines CGI, stop-motion and animation, integrating trinkets and texture work to unify disparate styles. Ashnikko’s costume work, including the "rabbit girl", uses cosmetics and digital effects to accentuate grotesque punk characters. The result is ultra-kitsch, fun and enduring.
The song's drop coincides perfectly with the peak of the Labubu craze. Léa's maximalist style, which uses visual clutter, noise and chaos, fits hand in hand with the song's metaphors of collectables, keepsakes and trinkets - it's a match made in heaven. Léa and Ashnikko realised they had the same reference in mind for the video: the large, detailed and picture heavy I Spy wimmelbooks popular in the 90s.
Addicted to "pushing music video ideas through every style", Léa's impressive and complete vision encompasses CGI, stop-motion and animation all in the same video, taking that visual maximalism an extra step further. "Here, the real challenge was making sure the styles didn't feel disconnected, but instead merged together. What really helped was the integration of the trinkets, the stop motion, and the texture work," says Léa.
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