HERMÈS PARIS — Illustration · Digital & Print Campaign · 2023
An Hermès scarf shaped by my graphic universe, the crossover nobody saw coming.
A worldwide open call where Hermès handpicks designers to reinterpret the iconic silk square. My former Creative Director at TBWA pushed me to apply. I did, got selected, and represented France.
The brief: bring your own visual world into the Hermès carré, no filter. I went full color, full joy, full expression: a giant psychedelic eye, rockets, UFOs and folk motifs colliding in Hermès orange on silk. Loud, obsessively layered, surgically assembled, and unmistakably mine. A piece that feels as much like me as it does like the house.
The selected carrés landed on digital billboards across central Paris, the kind of moment where you walk past your own work on a giant screen and quietly lose it.
Obsessive craft meets creative freedom. You stop and think: there's no level above this one.
LADURÉE — Valentine's Day Limited Editions · Packaging · Print & Digital Campaign · 2025
She paints the butterflies, I make sure they land in the right place.
I first worked with Ladurée at Publicis, shooting macarons. Their Communications Director in France called back with a Valentine's Day collection. Who says no to Ladurée. The macaron pretty much wrote the rules of French gourmandise, and Ladurée is the house that made it iconic.
10,000 collector boxes, exclusive to the Ladurée boutique on the Champs-Élysées. A four-hand collaboration with Fleur Arnaud, an artist who exhibits worldwide and who I'm now lucky enough to call a friend: every illustration hand-painted in sugared water, made from scratch for this collection. I handled everything else: typography, color, layout, print and digital adaptations.
Each box tells a chapter of a love story, and the art direction follows: soft pink for the first date, fresh green for the confession, deep midnight blue for the madness. Same butterflies, same watercolor florals, but the palette shifts from whisper to roar.
Delicate enough for Ladurée, playful enough to make you smile. A style we ended up calling "elegant kawaii".
JCM (LE JOURNAL DU CM) — Rebranding · Digital Identity · 2020
Rebranding the most-read community management media in France while its founder watches over your shoulder. No pressure.
Laurent Bour, the man behind Le Journal du CM, crossed my path while I was deep in a professional social media training program at IMCI in Paris. Him as a speaker, me sharpening my digital strategy toolkit. He'd seen my work, liked my eye, and handed me his baby: a full rebrand for the platform he'd been building since 2013. Nearly 200K monthly readers, a reference across the French social media and digital marketing landscape, and a visual identity that hadn't kept up with the reputation. That was the brief.
Full blue. No half-measures. I designed the new logo, a bold italic wordmark that hits like a headline and reads like a statement. Then built the entire system around it: brand guidelines, color-coded category architecture, blog header, app icon, newsletter and contributor CTAs, social templates, homepage redesign, business cards, goodies. Every touchpoint, from the favicon to the merch, running on the same electric blue with clean white typography. The kind of identity a community manager would actually be proud to share. Which, when you think about it, is the bare minimum for a media that teaches people how to build brands.
Laurent trusted the vision from sketch one. The new identity shipped across every platform and became the face of the JCM as readers know it today.
A media that helps others build their brand finally got one of its own.
MAC COSMETICS — Event Campaign · Print & Digital · 2025
Art directing a MAC Cosmetics campaign from a tropical island sounds like a fantasy brief. It wasn't.
Cedric Lanappe, MAC's brand ambassador for the Indian Ocean and Africa, reached out because he'd been following my work for years. He needed a creative director for GLARE, The Makeup Show: a full event campaign for MAC in Mauritius, hosted at the Hennessy Park Hotel. Fashion show, photoshoot, visual identity, print and digital activation. I said yes before the call dropped.
MAC's DNA is inclusivity, audacity, and beauty without borders. Pushing those codes on an island where they still mean something radical was the whole point. The art direction went all in: black and white, sequins, tulle, a male model shot like a couture editorial. Glamour with no safety net. The kind of image that hits the same whether it lands in Paris or Port-Louis.
Concept through execution, in close collaboration with the brand. The campaign was featured in M·A·CZINE, MAC's global editorial platform, and what followed on the ground said the rest: a pop-up store in Mauritius, then a permanent boutique in the country's largest mall. GLARE was the first of several Makeup Shows I art directed with Cedric across the region.
From a fashion show to a flagship store to an ongoing creative partnership. One campaign started it all.
FAUCHON — Print & Digital Campaign · 2021
Fauchon pink, sweet lips, and nothing else.
Sometimes the sharpest art direction is everything you choose not to show.
Fewer pastries, more desire.
I answered a national call for projects from Fauchon, the iconic Maison de la Madeleine, founded by Auguste Fauchon in 1886 (exactly a century before I was born, make of that what you will). The house where Pierre Hermé and Cédric Grolet sharpened their craft, where gourmandise became an art form and pink became a Parisian signature.
Several directions proposed, one selected for its audacity: no product, no pastry, just sugar-coated lips on a pink canvas. Concept, art direction, execution: one vision, one pair of hands.
Print and digital campaign rolled out across Paris during Fashion Week. Post-Covid, while everyone was still wearing a mask, the creative stance was clear: sweet, pink, unapologetic lips. A statement about desire in a world that had forgotten what a smile looked like. Panache, plaisir, audace. Pure Fauchon.
One visual, one color, one obsession. Sometimes restraint hits harder than anything.
CAFÉ DES FÉDÉRATIONS — 150th Anniversary Rebranding · Social Media · Ongoing Creative Direction · 2022 → Present
Rebranding the oldest bouchon lyonnais in the world without upsetting every grandmother who's ever eaten there.
The baseline I wrote, "Tout est bon dans le Bouchon", still makes me smile every time I walk past the door.
Full identity overhaul for the Café des Fédérations, a Lyon institution since 1872, commissioned on the recommendation of a TBWA project lead. Logo, visual identity, brand guidelines, then rolled out across every surface of the restaurant: menus, business cards, aprons, shirts, the iconic pot lyonnais.
The brief was a tightrope: 150 years of heritage, international recognition, and a clientele that ranges from locals who've been coming since childhood to tourists who just Googled "best bouchon Lyon." The rebrand had to honor all of that without turning into a history lecture. It's a bouchon, it should feel like one.
The branding landed so well they handed me the keys to their entire digital presence. Since 2022, I run their social media end to end: strategy, content creation (photo, video, copy), campaign activations, influencer collaborations, partnerships with prestigious Lyon houses, events.
One freelancer, zero agency. The Instagram account went from 0 to nearly 18,000 followers in four years, not bad for a restaurant that's been around since before Instagram's great-great-grandparents.
Since then, the clientele got noticeably younger (that was the plan), the numbers followed, and the trust is at a point where carte blanche is no longer a figure of speech. I'm the official Senior Creative Director of the oldest bouchon lyonnais in the world, and it might be my favorite line on any résumé.
KP'TIT PÈRE — Branding · Illustration · Packaging · Photoshoot · E-commerce · Digital Communication · 2023
A branding for dogs slicker than most startups raising 10M.
The founders spotted my work at a digital event in Lyon and showed up with a brand name, a product idea, and nothing else. Everything from scratch: brand strategy, visual identity, mascot, illustrations, packaging, e-commerce, digital communication.
The full build.
The mascot is the heart of it: a dog in a beret with more swagger than most brand ambassadors, color-coded across product lines, rolled out from packaging to social. Around him, a graphic language that mixes real dog photography with hand-drawn doodles, bold typography, and wordplay baked into every touchpoint.
Street culture for dogs who deserve better than clip art and paw prints.
Four photoshoots with dogs of all sizes and breeds. Getting a bulldog to stare at a lens requires patience, a squeaky toy in one hand, and zero dignity. Pure joyful chaos, incredible shots.
Packaging printed in Lyon, fully eco-responsible, local suppliers only. Cosmetics 97 to 100% natural, cruelty-free, tested on humans first. Everything aligned with the brand's values, from the ink to the attitude. Sales took off on launch, the audience clicked immediately, and P'tit Père has since opened its first physical boutique in Lyon.
Not bad for a brand that started with just a name and a dream about kibble.
GROLSCH — Pop Around Event × Le Sucre · Event Campaign · 2024
The kind of poster you spot on the street and smile at before you even read the caption.
Citron Bleu, a Lyon-based agency, handed me the project after seeing the visual identity work I'd done for a string of events around the city: art galleries, design nights, that kind of thing. They needed a concept, art direction, and full visual communication for a Grolsch event in Lyon.
Grolsch, the Dutch brewery born in 1615 during the Revolt, famous for its swing-top bottle and over 400 years of brewing with zero compromise. A brand that's always done things its own way. I proposed Le Sucre, a rooftop I've been dancing at since opening night. They said yes. Best call of the project.
The concept: transplant a piece of Amsterdam onto a Lyon rooftop. Bikes, tulips, swing-top bottles, a full Dutch atmosphere served on a terrace overlooking the Confluence. The poster plays it all in one shot: a green bike with Grolsch bottles stacked in the basket like a bouquet of tulips, "Pop Around" spinning inside the wheel, and a red-and-green palette that screams Holland without saying a word. Clean, graphic, instantly joyful. Make it real, as they say.
Concept, art direction, execution: all mine, from the first sketch to the last poster on the wall. That night kicked off a whole run of event campaigns across hybrid venues in Lyon and Paris. Can't show them all here or this portfolio would need 45 pages.
KINDOON — Branding · Illustration · UX/UI · Mobile & Desktop App · 2025
A LinkedIn, but useful. Mapping the skills inside a network instead of scrolling 6 a.m. productivity posts.
A former colleague at Havas connected me with a Belgian startup that needed everything. One-month sprint, solo creative director, full remote from the US, bilingual sessions with the team in Brussels. They had a product. I gave it a face.
Branding, visual identity, UX/UI for web and mobile, and a full custom illustration system built from scratch. Sixteen scenes, all hand-drawn on a Wacom Cintiq, locked into a strict purple-and-mustard palette: characters sharing knowledge, unlocking superpowers, connecting puzzle pieces.
Bold outlines, generous strokes, the kind of illustrations that pop in your face and make you want to sign up before you even understand the product.
The concept: a social network that puts people first. No feeds, no noise. A platform to identify, activate, and share hard skills across professional networks. The kind of tool LinkedIn should have been.
Launched in Belgium, rolled out across Europe.
Found its community, found its traction. Two colors, sixteen illustrations, one month. Sometimes that's all it takes.
C'EST MOI QUI L'AI FAIT — Branding · Illustration · Character Design · Digital Communication · 2024
Designing an identity for kids without slipping into princess pink or dinosaur green is a tightrope walk.
This one needed to speak to 4-year-olds, their parents, school directors, and a metropolitan institution, all at once. No committee visuals. No clip art.
Pure joy, zero compromise.
Branding and content creation for "C'est Moi Qui L'ai Fait", an 18-month creative education program run by the Cité Éducative of Lyon, deployed across schools throughout the city. The mission: teach kids to make, repair, transform, and create with their hands, turning throwaway culture into something beautiful. Upcycling, textile painting, pyrography, screen printing, wood crafting, even afro hip-hop contemporary dance. A project where a 5-year-old builds a memory totem out of recycled wood and calls it art. Because it is.
I designed the full visual universe from scratch: logo, brand guidelines, a cast of rubber hose-style mascots color-coded to each workshop, bouncing across every touchpoint from printed materials to Instagram grids. Custom hand-drawn typography for every sub-brand. A palette that hits you like a bag of candy: coral, cyan, mustard, purple, orange, all cranked to full volume against a pattern system built on the signature donut motif.
The team behind the project is as rich as the work itself: artists from Chad, Ivory Coast, Morocco, Syria, and France, brought together by two Lyon-based associations. My job was to give that energy a face kids would want to high-five and institutions would take seriously. Both happened.
Civic design with the soul of a cartoon and the rigor of a brand system. Favorite kind of brief, and it shows.
V2H (VDEUXH) — Branding · UX UI Design · Character Design · 2021
Making customer satisfaction consulting look like something you'd actually want to click on. That was the challenge.
Vincent Hugues-Hébrard, 20 years deep in customer relations, wanted to launch his own consulting practice. The expertise was bulletproof. The problem was the same one every B2B consultant faces: how do you brand audit reports, coaching sessions, and transition management without putting everyone to sleep? He needed an identity that felt as sharp and human as the way he actually works. I took the whole thing on.
I built the entire brand from zero: the VHH monogram, clean and architectural, locking the initials into a single mark that reads corporate without feeling stiff. Then the move that changed everything: a custom 3D avatar modeled after Vincent himself, bearded, navy suit, red tie, equal parts approachable and authoritative. Sitting, pointing, presenting. His digital twin became the face of VdeuxH across every touchpoint, the kind of character that makes a LinkedIn scroll stop and a services page feel alive.
Full website design and build, responsive from desktop to mobile. Tone set to "serious expertise, zero stuffiness." Dark charcoal canvas, white typography, Vincent's avatar carrying the visual storytelling across every section. Audit, copiloting, transformation, coaching: four service pillars, one cohesive visual language.
Turning a subject nobody wants to read about into a brand people actually remember. That's the job.
UBISOFT / SPACEZ & SPACEBRAINZ — Branding · Print & Digital Communication · 2023
A Ubisoft CMO calls you out of the blue while you're on assignment in the Indian Ocean. He remembers your work from a decade ago in Taipei. He needs full branding for his new gaming studio attached to Ubisoft and its first title. You say yes before he finishes the sentence.
Four-month creative sprint for SpaceZ, an independent gaming studio based in Taipei, and SpaceBrainz, their debut MMO built for streamers and hardcore creators. Full remote, international team, multiple time zones, one creative director.
The scope: logo, visual identity, brand guidelines for both the studio and the game, then rolled out across every surface a gamer might touch: merch, streaming accessories, outdoor campaign, digital assets. I even threw in a marketing strategy crash course when the team needed one. Two parallel brand universes built entirely from scratch, from research and strategy through to final execution, designed to coexist without stepping on each other.
The challenge was density: a complex product (user-created worlds, multiplayer sandbox, creator economy) that needed to feel instantly cool, not confusing. The visual language draws from deep space and celestial cartography: midnight blues, gold constellations, electric cyan orbits. Cinematic enough for a subway billboard, sharp enough to land on a hoodie.
Hundreds of iterations, zero regrets. The studio launched, the game found its audience worldwide, and I got to prove that branding hardcore gaming from a beach in the Indian Ocean is a perfectly valid workflow.