Quote

"I have 10 different skills. I don't want to eliminate 9 just to showcase one."

 

SKILLS

* creative director

* editing

* postproduction

* make up

* hair

* stylist

* model casting

* location scouting

* staging / decor

* fashion model choreography

* fashion shows

 

INDUSTRIES

* film

* television

* music videos

* commercial advertisements

* editorial photoshoots

* award shows

* red carpet

 

ABOUT

As creative director, I can bring in a very strong team to tell a compelling story for my clients.

Beautiful make-up, whether it be natural beauty, glamour, or avant-garde.

Hair design, because I can I'm able to see the whole picture and tell the story.

As a fashion stylist, I create characters with a very strong point of view — from edgy to classic beauty.

In postproduction, I'm there to the end in order to achieve excellence.

 

Bio

I became a Creative Director after years of working in the Entertainment and Fashion industries. My work consisted of fashion styling, makeup and hair for fashion magazines, films, television productions, and red carpet events (Grammy Awards, MTV Awards, VH1 Awards, etc.)

I also worked on many national TV commercials, which gave me experience and knowledge of how to advertise products and brands, including Seagram’s, Salon Selectives, Lincoln Mercury, Coca Cola, Perrier, and others. I worked with such directors as Andrei Konchalovsky, David Kellogg, Joe Pytka, Peter Nydrle, and more.

Additionally, I worked on editorials and fashion ads which appeared in print magazines such as Vogue, Glamor, Interview, W, People, etc. with photographers such as Kevin Abosch, Steve Schapiro, Robert Lynden, Susan Schacter, Firooz Zahedi, Aaron Rapoport, and others.

In the Nineties, I decided to open my own boutique where I carried upscale clothing and accessories from Italy, France, Germany, Spain, and Switzerland. In addition to being the buyer for my boutique, I extended the range of my activities to start an online fashion magazine and a blog, which forced me to draw upon all my previous experiences.

Having been fortunate to work with and learn from a variety of extremely talented specialists in the industry, I became the one who directed the photoshoots and pulled together photographers, locations, decor, models, makeup, hair, clothes, and accessories.

As a Creative Director, I also developed experience producing, staging and marketing events: fashion shows to help launch and promote fashion lines and accessory lines; real estate property staging to stimulate sales; a red carpet Oscar® event at a private club to attract new members; a fashion/auction/fundraiser to commemorate the wife of John H. Johnson (founder of Ebony magazine); and so on.

Philosophy and Approach

In multiple instances, I produced editorial fashion shoots to promote fashion lines aimed at sophisticated women. I showcase fashions as an integral part of women’s lifestyles, rather than as static product shots. For examples, for one of the editorials I chose a location decorated in a Hollywood Regency style, inspired by 1930s classic Hollywood glamor.

I produce looks that appeal to people who enjoy classic glamor. Classic glamor is a look I’m very passionate about. I feel it is timeless, enduring, and appeals to people of great taste regardless of age.

My approach is a fit for Luxury, Premium, and Aspirational products that respect the timeless finesse of a brand’s tradition, but with an updated, contemporary look. Automobiles like Bentley, Rolls Royce, certain Mercedes models, Range Rover. Fashion designers like Chanel, Dior, Valentino, Halston. Jewelry by Harry Winston or Tiffany. Boutique hotels styled by famous fashion designers.

The woman who embodies this lifestyle is active, but she also values beauty. She’s into health and fitness; she tries to stay trim. She’s very much into skincare and skin protection. She goes once or twice a month to an esthetician, once a week to a nail salon, gets her hair colored every three weeks, and her hair cut once a month. She probably has a very busy social life and travel schedule, possibly a business calendar, and she’s actively involved in charitable events. So she may rely upon a personal shopper who helps her save time and keep her closet organized.

When I showcase a product in a photoshoot, I believe that the product should appeal to a universal desire for beauty. At the same time, the product should be something a woman can use — it shouldn’t just be stored away in her closet after the purchase is made.

So I don’t just make the product look beautiful. I tell a story with my editorials. I place the product so that it looks like a natural part of the customer’s daily lifestyle. Or, I’ll present the product in a way that the customer will become aware of the product for the first time, and want it to be a part of her lifestyle. It’s all in the way the product is presented: it has to appeal, it has to make the customer care.

If the product is a dress, it should look like an extension of the woman and her lifestyle. It shouldn’t look like the dress is wearing her. It shouldn’t look like she’s trying too hard. The dress should be a statement that fits with who she is and how she lives. My approach works not only for products that are new to the market, but also for familiar brands and established products that need a fresh, updated positioning.

Either way, since I have multiple skills and wear multiple hats, I don’t need to supervise a large and diverse team of specialists. By working personally on almost every aspect of the creative production, I bring a seamless integrity of execution. Being hands-on, I ensure that the end result matches the original vision, with minimal need to edit other people’s work. My creative projects reflect a strong and consistent point of view, not a compromise by committee.

Some clients, especially early-stage clients, need my help coming up with a vision. More established clients already have a vision, and I know how to respect that.

I like a lavish style of beauty, beyond glamor even, and I like to bring it into the styling of my projects. Visually strong, clean, luxurious, intelligent design but also very usable.

In addition to fashion and beauty, I would love to work on projects for hotels, for yachts, for museums. As long as I get to showcase them in ways that people haven’t seen before, by incorporating unexpected constrasts. Tastefully mixing eclectic influences, such as ancient and modern, tribal and modern, and so on.

I like creating visuals that make people think, engage, feel connected to what I’m showing. They desire to bring it into their life, so that it completes their own personal story. When people make purchases, they do so for a reason. In a way, they’re telling their own story through their purchases. My work is suited to people who believe that what they purchase is an extension of them, and makes sense for who they are and for their lifestyle. People who aspire to live by design, tastefully, by choosing high-quality items. The customer is a core component of the brand’s identity. If you market to the wrong segment, then the brand’s core identity is called into question.

My sweet spot are brands that keep up with the times, but don’t compromise their strong classic core and don’t succumb to fads.

Because I’ve had years of personal experience dealing in a one-on-one setting with customers who like premium and luxury products, I understand what they like. I know what buttons to push. I can bring that wealth of practical insight and experience to advertisers.

I can quickly and confidently craft a visual message that speaks directly to that customer segment – I know what fits their lifestyle from a practical standpoint, not a theoretical standpoint.

I know how to elicit two critical reactions: “Oh Wow” plus “I Want”.

For example, I produced an editorial photoshoot for Lyla Renai, a high-end women’s golfwear line that is upscale, feminine, and cool. I took the designer’s vision and showed that the garments have both a practical side and a fashionable side — they can be worn on the golf course and also at the clubhouse’s fine dining restaurant.

A purely commercial look would have been flat and boring. I wanted to show that the Lyla Renai golfwear line is more than just sportswear; I wanted to give it a fashion twist, a lifestyle angle. A woman can take a Lyla Renai piece from the golf course to the clubhouse, and have a high-end brunch looking fabulous and fashionable. That’s what makes Lyla Renai stand apart. The idea then was to showcase the lifestyle — the whole package — with a visual quality that would belong in a high-end fashion magazine. With this photoshoot, we crossed an invisible line between golfwear and fashion.

Some golf courses and resorts are very exclusive. They have a dress code. Women can’t just walk off the golf course and go directly to have an upscale meal. They have to go to the women’s locker room and change their look. Lyla Renai was created to avoid all this — all the woman has to do is change shoes, and she feels well dressed and pretty. No need to go home or go to the locker room. It’s practical and it’s also flattering, the woman hasn’t compromised her look. This line saves time and gives maximum flexibility.