The campaign began with a photoshoot I produced from scratch: sourcing props, coordinating day-of assistance, managing asset delivery and post-production. From there, I led a city-wide OOH wild postings rollout in the weeks leading up to the event while also coordinating content capture during instal to build out a library of promotional assets in real time.
The starting point of the influencer activation was a physical invitation I conceived, sourced, assembled and distributed: a custom-engraved key and key tag inside a customized luxury box, sent to over 100 influencers with cryptic instructions pointing to a secret location. In that location was an activation I oversaw from planning and install until execution and reporting: managing the experiential design of the space, coordinating stock from more than 20 brand partners, monitoring security footage for content capture, and tracking organic social output as it rolled in. Over three days, dozens of influencers unlocked lockers stocked with over $1,200 in curated product each. In total: more than $50,000 in distributed product, 100+ pieces of organic content, nearly 7 million in reach and over 120,000 engagements.
Twenty-four hours after the activation closed, the same venue reopened as an immersive presentation space for the client-facing launch event - the clients had also received mysterious keys but with slightly different invitation. Over 200 attendees - including brand partners, clients, prospects and industry guests - experienced the new Fohr App for the first time before the evening opened into a full celebration of this milestone. I managed the complete venue transformation and all event logistics between the two activations.
From producing the campaign photoshoot and all supporting marketing materials, to sourcing and assembling every key, lock, and engraved detail inside each luxury box, to coordinating thousands of dollars in gifted products, to running a city-wide OOH rollout and executing three distinct events in three days - an experiential and immersive influencer activation, a 200+ client presentation and closing it off with a party - I held every thread of this project simultaneously. Timelines, budgets, vendor relationships, and strategic alignment across all three initiatives were mine from first concept to final recap. The result was the most complex, highest-impact campaign Fohr had ever produced solidifying it as a milestone moment in the company’s history.
It started with an anonymous survey we drafted and sent to thousands of influencers to gain insight into where numbers are landing in negotiations. What came back was striking enough to become the backbone of the entire campaign. The results didn't just inform the copy, they drove the direction and output. Every creative decision that followed was in service of what the data had revealed.
From there, I produced the full campaign shoot from scoping and planning until asset delivery and distribution. I lead casting models, sourcing wardrobe, securing the studio, hiring the photographer and makeup artist, and building the run of show from the ground up.
On set, I directed the still imagery while simultaneously capturing anonymous style interviews for social. Once raw assets were in hand, I worked closely with the design team to develop the OOH creative, then entered negotiations with multiple vendors until we landed on the right fit for our budget: wild postings and digital bus shelter placements across New York City.
The media buy was anything but random. I mapped Fohr's warm leads and dream clients by office location across the city, then worked directly with our OOH vendors to target those specific corridors so the campaign landed not just in front of people, but in front of the right people. I also led the social content development from the campaign footage, managing multiple rounds of feedback with editors and providing creative direction throughout post-production. Budget, contracts, negotiations, asset development, and timeline management were mine across every phase.
The campaign generated significant buzz within the industry, resonated deeply with our client base, and positioned Fohr's new technology within a cultural and ethical conversation that the space was already hungry to have.
It also doesn't happen without six months of meticulous groundwork. I led the project end to end; owning the timeline, task management, RACI, six-figure budget development and management, and weekly meetings with the most senior members of the executive team. Travel coordination spanned ten individual itineraries across five executive team members and five partners from creator talent, clients, and press: flights, accommodation, ground transport, event attendance, and every logistical detail across the full week, each person on their own schedule.
The content strategy ran as its own parallel project - concepting, briefing, moodboarding, capture oversight, editing, copy, and rollout across pre-, during-, and post-Cannes. The week outperformed everything Fohr had published in the prior six months, with individual posts reaching over 30,000 views.
At Collins House, Fohr hosted three panels that put the company's thinking at the center of the week's most relevant conversations: From Cast to Creator with Sai de Silva, Emma Slater, and Alan Bersten moderated by Natalie Jarvey from The Ankler on reality television talent and their presence in the creator space. A conversation with Olympic gold medalists Tara and Hunter Woodhall moderated by Gillian Follet from Ad Age focused on the rise of athletes in the creator space; and a brand-strategy session with the marketing leads from The RealReal and Aerie. Evenings were anchored by eight curated dinners across four nights, each one built around the same principle as the week itself: the right people, the right setting, no agenda beyond genuine exchange. I led the full vetting process from 3,000+ contacts to a targeted outreach pool of 300, achieving a 30% response rate from cold outreach.
What the week produced wasn't just content or coverage, it was laying the ground work for new relationships. Brand leaders who had been warm contacts for years became genuine partners. Conversations that started over dinners or at Collins House turned into pipeline. The measure of a week like this isn't what happened in Cannes; it's what happens after, when the emails come in and people say they're still thinking about a conversation they had on a terrace in the South of France.
In this edition, my role expanded to encompass editorial development of the content, full marketing campaign creative production and direction, and the ralization of the launch event - all three developed simultaneously and requiring the same level of precision and intentionality.
In the publication side, I refined the editorial direction, coordinated contributors, and oversaw content creation, editing, and design from first draft to final press-ready file. On the production side, I managed vendor relationships, timelines, and budget, and personally oversaw the collection of over 1,000 mailing addresses to ensure distribution reached exactly where it needed to go.
For the marketing campaign, which was built alongside the publication itself, I worked closely with design and strategy in the development of a more ambitious photo and video rollout than either previous volumes had seen. I led from initial concept development, research and moodboarding through briefing, production, post-production, and multi-channel rollout. I produced all visual assets (photos, videos, interviews, and more) to extend the Almanac's reach and deepen its presence well beyond the printed page.
The launch brought it all together. An exclusive evening aboard a private sailboat at golden hour. The Manhattan skyline receding behind us, passed hors d'oeuvres, a select list of VIP guests, and the kind of atmosphere that only exists when every detail has been decided with care. I managed all contracting, vendor negotiation, outreach strategy, and RSVP coordination from start to finish. The result was an event that left a mark and echoed the publication it aimed to celebrate.
My first focus was internal processes: I built the systems for briefing, cross-functional collaboration, asset storage, and feedback rounds that gave the team a clear, repeatable way to work. I also owned coordination with external parties, aligning with brand collaborators including Milk Makeup, Starbucks, and more, tracking partnership deliverables, and ensuring every commitment landed on time and on brief. Alongside the operational work, I was central to pitching new clients and contributing to strategy development and presentation.
On the production side, I contributed to planning and executing content capture sessions in Paris, Milan, and NYC as well as our NYFW coverage - tracking ideas, developing shot lists, building run of show, handling resourcing, and helping translate creative vision into executable plans. During NYFW, working closely with AREA as a key client, I managed day-of production: overseeing social set build, schedule, cross-team coordination, on-set creative direction, and asset management from capture through delivery.
Beyond our own production, our content strategy spanned reactive work around cultural moments and emerging trends, repurposing existing brand media - interviews, celebrity appearances, press moments, bts footage, archives, etc - into original content for the brand’s channels as well as producing larger, narrative led videos for key milestones like show teasers, announcements, and seasonal campaigns.
A core part of the work was developing the voice through which the brand showed up online: shaping a tone that felt specific, relatable, and genuinely connected to its audience rather than broadcast from a distance. This work became central to AREA's brand strategy and cultural presence after their relaunch in 2025.
The creative vision came with new logistical complexity. For this edition I led the concept-to-delivery execution of the project, which included doing extensive vendor research and negotiation, troubleshooting the design, staff resourcing, budget develoment and implementation, timeline develoment, liasing between teams to gather addresses, assembling a production process and timeline, hiring an assembly team, overseeing packaging, handling and distribution as well as coordinating the photo campaign and more.
By the time production closed, every element had landed: the tin, the crate, the label design, the fulfillment logistics. I managed the full creative production alongside every operational detail and brought the project in 15% under budget. It was the cleanest production process of any holiday gift to date: fewer corrections, tighter coordination, and a final product that required no compromises.