Image, identity & digital experiences.

Working with a creative director

A creative director connects the purpose of a project with the way it looks and feels. Before choosing a typeface, an image or a layout, it helps to understand who the work is for, what it needs to communicate and where people will encounter it. A brand launch, an exhibition, a packaging range and a digital product raise different questions, even when they share the same visual identity.

My portfolio brings these disciplines together. You can explore art direction, photography, print, websites and applications on this page, then use the contact form to explain your own project. When approaching a creative director, a clear description of the audience, existing materials, expected formats and timing is more useful than a long list of visual references alone. These starting points help establish a coherent direction while leaving room for research, discussion and creative decisions.

Brand identity across print and screen

A visual identity is more than a logo placed on different supports. Typography, colour, spacing, composition and photography all contribute to recognition. As a creative director, I consider how these elements work together and how they can remain consistent when the format changes. A small label, a large poster and a mobile screen each need their own hierarchy and level of detail.

The selected work shows different relationships between image and identity, particularly in cosmetics, cultural communication and digital experiences. For a new brief, useful questions include what should remain recognisable, what needs to evolve and which applications are essential at launch. The creative director can then connect the individual pieces to a shared visual direction. Existing brand assets, examples of current communication and an explanation of the desired audience are helpful materials to include when starting that conversation. They make it easier to distinguish a visual refresh from a broader identity project.

Cosmetics, packaging and product images

Packaging brings visual identity into a physical relationship with a product. The shape of the container, the available surface, the legibility of a label and the image used to present it all influence the result. A creative director needs to consider both the individual object and the way a collection appears together, whether photographed, displayed or presented online.

The cosmetics section includes selected work associated with brands such as Casanera, Phytomer, Azzaro, Isula, Algotherm, Fragonard and Huygens. It brings together design, packaging and photography rather than treating each discipline as an isolated output. When discussing a packaging brief with a creative director, share the existing identity, product range, dimensions and required information, along with the intended uses of the images. Technical specifications and final production requirements should be clarified as part of the project. The portfolio provides a visual starting point for that discussion without assuming that every brand requires the same aesthetic or process.

Photography and visual storytelling

An image can describe a material, establish an atmosphere or become the central element of a campaign. Light, framing, texture and the relationship between objects affect what the viewer notices first. My work as a creative director is connected to photography because these choices are part of the visual language, not simply the final decoration of a layout.

The images on this page sit within different contexts: product communication, posters, artistic work and digital presentation. Looking at the intended use is a useful way to begin a photography discussion. A panoramic website image and a portrait format for print may need different compositions, even when they belong to the same project. A creative director can help connect those requirements before images are selected or produced. Share the available assets, the intended formats and any existing visual direction so that the photographic approach can be considered alongside the wider identity and communication needs.

Web design and digital experiences

A website has to organise information as well as express an identity. The visual hierarchy, navigation, images and interaction should help visitors understand where they are and what they can do next. As a creative director working across design and technology, I connect these practical questions with the broader visual direction of a project.

The web section presents selected work for cultural, brand and healthcare contexts, including Atelier Ombres, Atelier Sara, Café Khayyam and other organisations shown in the portfolio. Each context has its own audience and content requirements. For a website brief, explain the main visitor journeys, the material already available and the functions you need. A creative director can then consider how the interface, editorial structure and visual identity fit together. The number of pages is only one part of that discussion: a single page can organise several clear sections, while a larger project may need a more detailed structure to keep navigation understandable.

Interfaces, applications and digital products

Digital products introduce questions that go beyond the presentation of a brand. Information must remain readable as people move through different tasks, screens and states. A creative director working on an interface needs to consider consistency, orientation and the relationship between visual choices and everyday use. A clear screen should help people understand its purpose without requiring them to interpret the design first.

The product section presents RestoTout, Plateforme Médicale and Pet Matching as separate project directions across hospitality, healthcare and mobile experiences. Their public demonstrations are marked as coming soon; the portfolio does not imply that a demonstration is currently available. To discuss an interface with a creative director, describe the intended users, their main tasks and the current stage of the project. Examples of existing screens, content requirements and workflow diagrams can help establish priorities. The appropriate scope depends on those needs and should be defined before assuming that every feature belongs in an initial release.

Posters, culture and artistic practice

A poster often has to create an immediate visual encounter while keeping essential information readable. Image, typography and empty space work together at a different pace from a website or an application. For a creative director, cultural communication offers an opportunity to connect a clear message with an expressive visual approach suited to the event, publication or organisation.

The poster selection on this page includes work for Café Khayyam. The artistic section offers another perspective through personal visual research, alongside the wider practice of photography, painting and sculpture. These activities inform my attention to rhythm, materials and composition without turning every commissioned project into the same kind of image. When contacting a creative director about a cultural project, include the subject, audience, essential information, publication formats and timing. It is also helpful to distinguish the central artwork from the adaptations needed for posters, digital communication or other supports, so that the whole set can remain coherent.

Motion design and adapting a visual idea

Motion introduces duration, rhythm and transitions into a visual identity. A composition that works as a still image may need a different hierarchy when it unfolds over time. The motion selection on this page belongs to the same practice as the photography, posters and websites: the relationship between the image, its message and its context remains central.

For a creative director, a motion brief should clarify where the work will be seen, how long it needs to run and whether it must also exist as a still image. Screen format, sound, captions and the availability of source material can all affect the direction. It is helpful to identify these requirements before treating animation as a final addition to a finished layout.

When discussing a project with a creative director, share the intended use and the material you already have. A reference can communicate a rhythm or atmosphere, but the resulting visual language should be considered in relation to the project itself. The aim is to connect moving and still formats within a coherent presentation.

Choosing references and preparing existing assets

References are most useful when they come with an explanation. A photograph might interest you because of its light rather than its subject; a website might be relevant for its navigation rather than its colours. Explaining that distinction gives a creative director a clearer understanding of what matters and avoids reducing the brief to a request to reproduce another project.

Existing assets deserve the same attention. Gather the current logo, available photographs, essential text and examples of previous communication. Identify which elements are approved, which need to change and which are still being developed. If several people contribute to the project, a shared understanding of the objectives can make the visual discussion more precise.

The portfolio is organised by discipline so that you can compare different kinds of work before contacting me. You can use the section links to move directly to cosmetics, posters, motion, websites or artistic projects. A creative director can then discuss those references in relation to your audience, formats and practical constraints, rather than assuming that one visual solution will suit every situation.

Preparing a collaboration in Paris or remotely

A useful first message explains the project in concrete terms. Introduce the brand or organisation, describe the audience and identify the main objective. Add the formats you expect, the materials already available and any timing constraints. If you have seen something relevant in this portfolio, mention the project or section so that your visual references have a clear context.

As a creative director based in Paris, I use this page to bring together different aspects of my practice and give prospective collaborators a starting point for discussion. The contact form below is the direct way to share a brief. You do not need to arrive with every design decision already made; questions about scope, visual direction and the relationship between supports can form part of the conversation. Choosing a creative director is also about finding a coherent approach to your particular needs, so describe what matters most to the project rather than asking for a copy of an existing design.