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.
Real frames, real bottles, real glass. The logo, the hinge, the colour and the silhouette come back exactly as they left.
The fifth image, still belonging to the same world — that is the work. The first one is easy.
Light, palette and framing are settled on paper. After that, a new colour or a new market is a decision, not a shoot.
Every set starts from the brand’s own product photograph — the garment itself is never redesigned. What moves around it is the casting, the place and the camera: one dress carried across angles, across locations and across two different models, so a buyer sees it the way a customer will.
One dress, four angles · one dress, two castings · studio & street
One dress, four angles. The same look, the same hour of light, two walls — pale marble and dark stone. Nothing is restyled between frames.
Dark stoneMoving one look from a white wall to a dark one changes the price the eye puts on it. Same dress, same shoes, same afternoon — one grade across all four.
One dress, a studio set. Sheer lace only reads on a clean backdrop with a raking light — three poses, one setup, no change of hair or shoes.
StudioOne dress, two castings. The same piece on two different models — a buyer can see how it sits on the skin tone they are actually selling to, before anything is produced.
Arcade
Second casting
Shoes, hosiery and bag are chosen for each look rather than reused — styling is part of the frame, and none of it carries a brand mark.
One dress, out in the city. The same look and the same styling taken to the street: low angle, high angle, close.
StreetExisting 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
Palazzo
Colourways
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
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
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
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
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
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
One product line at a time, a small number of houses at once. The code is decided first — that part is not hurried. Everything after it moves quickly, because nothing has to be re-shot to change a colour, a market or a model.
Light, palette, optics, framing — written and shown, so every later frame is reproducible by anyone.
Hero, product, texture, context. Delivered in 4:5, 1:1 and 9:16.
10–15 seconds, vertical, cut for sound-off, plus a six-second version for paid.
Carousels and the grid, ordered, with captions. Two rounds of revisions. Files and code stay yours.
Visual direction and campaign production for luxury houses. Based in Venice, working in English and Italian.