Folding Cinematic
SKYFALL my concept.
The concept centred on a stroller descending gently from the sky, a visual metaphor built around the product's headline feature: folding down small enough to fit in an aircraft overhead locker.
As Creative Producer and Art Director, I shaped the project from the ground up. I built the initial client deck, developed multiple creative directions and presented the pitch that got SKYFALL greenlit. I held the line between creative ambition and client expectation, managing feedback loops, steering art direction decisions and keeping our Unreal Engine pipeline moving without losing sight of the original vision.
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At the exhibition
CLIENT: SILVERCROSS - NIA
DELIVERY: WEBSITE / SOCIAL MEDIA / EXHIBITION
ROLE: CREATIVE LEAD / MANAGER
COMPANY: SUPERBLIMP
SILVER CROSS came to us with a clear ambition: AAA-grade visuals to launch their new foldable stroller range. The brief called for something that felt less like a product demo and more like a statement.
The creative challenge was to translate a mechanical feature, the fold, into a piece of abstract visual storytelling that communicated innovation without explaining it.
Ongoing process of the folding cycle
My responsibilities across the project
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Project management and production oversight
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Creative concept development and art direction
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Client liaison and feedback integration
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Sound and SFX direction
HARROGATE 2025
attendance increasing
by over 20%
(client's data)
THE BIGGEST CHALLENGE
Delivering a technically ambitious, real-time production whilst keeping a premium client confident throughout.
The Unreal Engine pipeline was new territory for the client, which meant the team had to work in lockstep, with technical artists, motion designers and maintaining constant alignment so that every review felt purposeful.
High end renders for the exhibition prints and booth display
Folding Cinematic
CLIENT: PATRICK JOUIN STUDIO
DELIVERY: DESIGN WEEK MILAN
ROLE: DESIGN MANAGER / CREATIVE LEAD
COMPANY: DESIGN STUDIO
Passionate designer Patrick Jouin has spent 15 years pushing the boundaries of 3D printing and machine-led fabrication. In 2004, his SOLID collection, the first series of 1:1 furniture produced using these technologies, entered the permanent collections of major museums worldwide.
TAMU by Patrick Jouin & the DesignStudio
From the outset, I was embedded in the full R&D process, documenting every stage of development and building the asset library that would underpin the project's storytelling.
I contributed to the initial design internally, with XGenerative Design used to optimise material distribution and structural efficiency. I led the development of the 3D cinematic showcasing the chair's folding animation, and managed a strand of social media content and internal communications through the 3DEXPERIENCE platform.
Film extract
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Milan Design Week booth
My responsibilities across the project
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R&D documentation and asset creation
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Storytelling strategy and content development
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Generative design contribution via 3DEXPERIENCE
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3D cinematic direction and production
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Social media & internal communications management
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Booth design and art direction at Design Week Milan
THE BIGGEST CHALLENGE
TAMU sat at the intersection of experimental fabrication, generative design and live public presentation, with no margin for error at Milan. Capturing a fast-moving R&D process in real time, while simultaneously building the content, the cinematic and the exhibition, meant every workstream had to stay in motion at once. The booth had to match the ambition of the object inside it.
CLIENT: DESIGN STUDIO / 3DEXPERIENCE LAB
DELIVERY: 3D EXPERIENCE WORLD EVENT 2026
ROLE: CO-FOUNDER / DESIGNER
COMPANY: DASSAULT SYSTEMES
As Design Manager, I finally had the platform to bring an idea I had been carrying for years into reality: using flux simulation alongside remote control car engineering to build a physics model from scratch, one designed to measurably improve traction and cornering speed.
EXODUS by the Design Studio
The core idea was to create an Autonomous Air Management System (AAMS) that would allow a remote control car to maintain straight-line speed through corners. The 1:10 scale format was a deliberate choice: easy to iterate on, strong enough to serve as a compelling case study for the 3DEXPERIENCE platform, and well suited to a real-time XR experience.
I drove the early workshops, onboarding contributors from across the business and giving the team room to challenge the core concept and develop its fundamental principles.
My responsibilities across the project
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Concept origination and design strategy
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Stakeholder pitching
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Workshop facilitation and team onboarding
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Design methodology leadership
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Brand face and public representative of the project
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Project management
5
Brands Involved
Enovia - Catia - Solidworks Simulia - 3DXite
THE BIGGEST CHALLENGE
EXODUS was never a straightforward sell. Convincing a large organisation to invest time, resource and cross-departmental energy into a project that lived outside the usual brief required sustained advocacy, political navigation and a clear-eyed belief in the concept long before anyone else shared it.
The technical complexity of integrating a fully functioning AAMS into a 1:10 scale chassis, while keeping simulation, design and engineering in sync across separate teams, meant that alignment was never a given. It had to be earned at every stage.
Online Experience
SHOWREEL CREATIVE
CLIENT: ARTHUR MAMOU-MANI - AURORA
DELIVERY: DESIGN MUSEUM
ROLE: HEAD OF CONTENT / DESIGNER
COMPANY: DASSAULT SYSTEMES
AURORA takes the form of a series of wave-like modules, manufactured locally at Mamou-Mani's Fab.Pub in London using bio-sourced PLA 3D printing, and suspended from the atrium of the Design Museum on steel tubes. The third instalment of Dassault Systemes' Design in the Age of Experience initiative, it formed part of the museum's Waste Age.
AURORA by Mamou-Mani
As Head of Content and Designer, I was embedded in the project from the outset, managing the flow of communication between the CATIA department and the design studio while capturing the full arc of the project for content purposes.
I contributed to the pre-release publication and supported the development of 3D visualisations used across project materials.
At the exhibition, I directed the agency teams responsible for capturing the event, overseeing the creation of social media content built to drive awareness and extend the reach of the installation beyond the museum walls.
THE BIGGEST CHALLENGE
Bridging the gap between a computational design studio and a software engineering department, in real time, on a project with a fixed public deadline and a sustainability mandate that left no room for waste, in material or process. Keeping both sides in productive dialogue while the installation took shape required as much communication design as it did content production.
My responsibilities across the project
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Cross-departmental project management liaison
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Content strategy and documentation
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Pre-release publication contribution
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3D visualisation development
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Agency direction for event capture and social media content
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Film and motion design direction for exhibition and digital channels
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