Venezia · Visual direction

A campaign is a code,
not a folder of
pretty pictures.

One light, one palette, one way of framing — held across a film, a feed and a shop window until the house is recognisable before the logo is read.

The product is not a suggestion.

Real frames, real bottles, real glass. The logo, the hinge, the colour and the silhouette come back exactly as they left.

Once is not a campaign.

The fifth image, still belonging to the same world — that is the work. The first one is easy.

Beauty is decided before production.

Light, palette and framing are settled on paper. After that, a new colour or a new market is a decision, not a shoot.

01 · High jewellery

A house, not a catalogue.

Boutique, hand, stone — then three complete sets. Different pieces, one palette and one light, so the grid reads as a single house rather than a row of product shots.

Retail · lifestyle · three sets

Set 01
Set 02
Set 03
02 · Murano glass

Real objects, moved into new rooms.

Existing pieces of hand-blown glass, carried into palazzi, workshops and sea light. Every colour, bubble and wall thickness is the real object — the room around it is built.

Product transfer · interiors · three films

Colourways
Ambra
Goccia
Materia
03 · Automotive

A whole fleet, one afternoon of light.

Five cars, five places — Monaco, Amalfi, Portofino, the Dolomites, a Milano forecourt. Each car is a real car a client owns. The film was built from phone shots taken against a fence.

Exteriors · interiors · details · one film

Monaco
Amalfi
Portofino
Dolomiti
Milano
Ferrari Portofino

The car came off a rental company’s own website: phone pictures, flat light, a car park. Out of them — eight angles, a coastline, an afternoon. Nothing was filmed.

04 · Fashion

A lookbook, not a photo.

One look carried around the model — front, turn, back, in the same hour of light. Then three different looks in three different places, held to the same grade so they still read as one season.

One look, three angles · three looks, three places

Look 02 · back
05 · Beauty & skincare

Colour, texture, water.

A jar photographed on a Venetian ledge, an oil on skin at the end of the day, a serum suspended in water. The product stays exact; what changes is the world it is asked to live in — and the box is shown being opened, not lying flat.

Three films · product campaign · textures

Shade study
Mascara · Venezia
Hair oil · film

Fourteen seconds on a beach: the dropper, the hair, the hands. A hair oil has nothing to show but the gesture — so the gesture is the film.

Venezia
Packaging
06 · Spa & wellness

Images before the doors open.

For a house that is opening, or a treatment that is new, the images have to exist before the doors do. The interior, the ritual and the light are built in advance, then matched to the real space once it is finished.

Interiors · ritual · one film

Ritual film

The film sells the ten minutes afterwards: warm steam, gold light, skin. That is what a guest is actually booking.

07 · Fragrance

The bottle, placed.

Still life that lives in a world instead of a white box — lacquer, jungle, night, a panther in the dark — with the glass itself untouched. Both films open this page.

Concept work · product-accurate

Pera
08 · Eyewear

Every lens, before a sample ships.

Concept campaigns built on real frames from two eyewear houses. Tints and colourways change in the file, so a full lookbook can exist while the collection is still a drawing.

Campaign film · turntable · lighting

Concept film
Turntable
09 · Content direction

The images arrive as a plan.

Frames are not handed over as a folder. They come sequenced — what opens, what holds, what closes — as carousels and as a grid that reads as one page.

Carousel · nine-frame grid · captions

Swipe — carousel, Murano glass

Nine frames — high jewellery, as a profile page

  1. Open on the object. The first frame stops the thumb; it never explains.
  2. Hold with the hand. Scale, skin, weight — how the thing lives.
  3. Turn once. A second angle so the eye trusts the first.
  4. Change the world, keep the light. New place, same hour.
  5. Close on the detail. The frame someone saves.
10 · The studio

What a campaign contains.

One product line, three weeks, three houses at a time — the code is built before anything is produced, and that part is not hurried.

Visual code

Light, palette, optics, framing — written and shown, so every later frame is reproducible by anyone.

Nine frames

Hero, product, texture, context. Delivered in 4:5, 1:1 and 9:16.

One film

10–15 seconds, vertical, cut for sound-off, plus a six-second version for paid.

Sequence

Carousels and the grid, ordered, with captions. Two rounds of revisions. Files and code stay yours.

Contact

Natalia Emelianova

Visual direction and campaign production for luxury houses. Based in Venice, working in English and Italian.

emelianova.natalia96@gmail.com

Personal and speculative work. Products shown are real; the houses and campaigns are my own concepts, made to demonstrate method — not commissioned by the brands.