To get straight to the point, you can [download my resume as a PDF here]. To explore the story and the approach behind my journey, simply keep reading below.
From High School to TBWA. In the late 90s, Friday nights had a sacred ritual: an episode of The X-Files, immediately followed by Culture Pub. That was my lightning bolt. At 16, while others wanted to be rockstars or pilots, I decided Art Director was the greatest job on Earth. Determined to make it happen, I spent my summer breaks as a high schooler escaping to Paris for real agency internships—bunking wherever I could, mostly in modest religious boarding homes. First at FKGB, an entertainment boutique designing album covers for French pop icons like Laurent Voulzy, then scoring a desk at TBWA. Eric Vervroegen was running the creative floor, and while everyone was dreaming of PlayStation briefs, I was cutting my teeth on Géant Casino supermarket catalogs. Far from glamorous, but absolutely foundational: I learned layout, typography, and rigor from a stellar team. The advertising bug had bitten for good.
Welcome at Publicis. Armed with an Art Direction Master’s degree from Sup de Pub, I landed my final internship at Publicis Conseil in Paris—which quickly turned into my first full-time role as a Junior Art Director. It was an extraordinary first year. Working at 133 Champs-Élysées under the creative leadership of Olivier Altmann meant diving straight into heavyweight accounts like Renault, SFR, and PMU. The learning curve was steep and exhilarating. Plus, casually sharing elevator rides with Maurice Lévy on the way to a presentation definitely gave the whole experience an unforgettable, mythic edge.
The Big Apple Creative Experience. Eager to master the physical craft of image-making, I packed my bags for New York for three exhilarating years. Monday to Friday, I assisted legendary commercial photographer Vincent Dixon—the mastermind behind the award-winning campaigns I used to paste on my bedroom walls. On weekends, I shifted gears into high fashion, assisting director and photographer Stéphane Sednaoui on iconic editorials for Vogue. Somewhere in between, I launched my own photography career: commissioned by leading French hip-hop bibles Groove and Radikal, I spent my nights photographing New York’s biggest rap legends. That three-year whirlwind completely rewired my creative vision. Mastering lighting, high-end set production, and meticulous retouching gave me an unfair advantage: I wasn't just an Art Director drafting layouts anymore—I knew exactly how to sculpt the image from lens to print.
The Place to Be for a Creative. Fresh off the plane from New York, I caught the eye of Fred & Farid, who were drawn to my visual culture and hybrid background as both Art Director and photographer. Joining the agency at that exact moment was pure adrenaline: the shop was at its absolute peak, racking up brazen pitch wins against legacy industry giants. It was a time of relentless intensity fueled by raw creative passion, where I had the opportunity to lead and craft major campaigns for Audi, Diesel, and Armani. Pure craft, elevated to a religion.
Global beauty at Scale. Joining FCB marked an exciting shift in scale. Splitting my time between the Paris and Hamburg offices—the global mothership of Beiersdorf—I took the creative helm of the agency's flagship account: Nivea. Leading the creative direction for European and worldwide campaigns, I managed the entire pipeline from conceptual ideation to large-scale international TV and print productions. Overseeing this cosmetic powerhouse taught me how to scale high-end beauty craft across multi-market ecosystems without ever losing an ounce of visual elegance.
From Pure Player to global Creative Agency. Backed by founder Sandrine Plasseraud's trust, I joined We Are Social to lead one of the most exciting creative evolutions in the market. I transformed the agency's DNA from community management to full-service, social-first creative excellence. Scaling the team from 5 to almost 50 creatives, we took on legacy shops to win marquee accounts like Netflix, Renault, BNP Paribas, WWF, and Greenpeace. Along the way, I built our in-house production studio from scratch—enabling us to deliver fast-turnaround agile content without ever compromising on top-tier cinematic craft.
Building a Top-10 Creative Agency & Embracing AI. My latest chapter was defined by a massive transformative challenge: building and scaling the entire creative department at Jellyfish. Starting with a tiny core team, I assembled a high-caliber creative department from the ground up. Through an influx of industry awards and relentless PR visibility, we shifted market perception forever—catapulting an agency historically known for media and performance straight into the top 10 rankings of French creative agencies.
To stay ahead of the curve, I rounded out this chapter by spearheading our AI-driven production workflows—exploring generative tools and innovative pipelines to pioneer the future of creative craft.
