CLICK FOR QUALITY TIME

The SUB is a countertop beer tap system, built for people who really value quality time at home with a fresh draught beer. We made a global TV ad for the SUB featuring an interactive online version where you could give the main actor a break from his own commercial. Click the screen and he'd pause the ad, wander off to find a SUB hidden in his apartment, pour himself a beer, and take a break...From his own commercial break.

CANVAS 2 KICKASS

Just Car Insurance insures modified cars, but they had never modified one of their own. To earn authenticity points with a skeptical audience, we did just that.

In Canvas 2 Kickass, we created a real-life, Need for Speed-style car build. Every week, followers voted on individual parts of the car while watching the garage work live on stream, backed by weekly content episodes following the progress.

This was long before modern social media, so we launched it natively through online car forums. The campaign earned a serious cult following, turning a factory-standard vehicle into a head-turner and cementing Just Car Insurance as the go-to insurer for street rides.

LEGO

I've spent four years as an embedded senior creative across LEGO's most significant franchises and partnerships - F1, Star Wars, Nike, Botanicals, Duplo and Adults. Working from early-stage concepts through to global campaign direction. I was also engaged at product stage to help brand a new LEGO brick, and led brand development for the LEGO x NIKE partnership.

This is a LEGO Adults campaign I developed up to the point of production. The strategy positions LEGO as a healthy pastime and an alternative to passive screen time.

SHARE THE SOFA

The idea was simple: share your sofa with a legend of the game during Champions League games. Speak to them directly on Twitter, and stay entertained by an orchestra of performers translating live player commentary into Heineken-flavoured content bites, captured and published instantly.

Heineken recognised that football fans watch games with their phones in one hand. We wanted their other hand to be holding a Heineken, so we created a live experience for your phone that complemented the football.

Each week, we travelled to a different market with a new road-show setup. The sofa stayed the same, but the host of "Open Your World" characters and performers adapted to local taste, making it feel more local to locals, and more international to the world.

It was huge. It had a real cult following and became the biggest Twitter campaign of its time.

POLESTAR INSTAGRAM

Instead of a content calendar, I designed the global Instagram account for Polestar to be a functional part of a car buyer's customer journey. People shopping for cars spend a month or two researching brands, often checking the Instagram pages, after that, the main feed is somewhat irrelevant.

So, I curated an editorial brand story that thematically looped every month or two, but never repeated content. Creative formats leaned directly into the strategic pillars relevant to prospective buyers: design, progressive innovation, and performance.

I planned, wrote, designed, and curated a playbook for the newly appointed creative agency to handle the global account, then oversaw a team of creatives who implemented it.

THE SOCCER DOC

The Champions League is played in Europe, which can make following games live tricky if you're somewhere like the USA. To help fans watch the match whichever timezone they were in, we created a spreadsheet that 9-5 workers could follow without getting caught.

My old friends Luis Garcia, Fernando Morientes, Clarence Seedorf and I filled out a public Google spreadsheet live as we watched the game together. Anyone, anywhere else, could follow along.

CADBURY PICNIC

30 seconds of TV fame in exchange for chocolate-faced humiliation? Apparently, thousands of people thought that was an excellent trade.

A Cadbury Picnic is a notoriously difficult chocolate bar to eat, it's messy, chewy, and delicious. To celebrate the struggle, we built a site (picnic.tv) where people filmed themselves trying to tackle one during an ad break.

If selected, your messy attempt was broadcast nationwide in a dynamic TV commercial, complete with a head-up notification telling you exactly what time and channel to tune into for your 30 seconds of national fame.

OPEN YOUR WORLD

I created Heineken’s first global social media content push for their brand platform, "Open Your World". This was uncharted waters for major brands at the time, and we didn’t go in slowly.

Working alongside a team of journalists, we produced nearly 100 pieces of premium content: a real-time docuseries (People Worth Watching), photo formats, social experiment films, and a full year of feed content, setting the template for how Heineken spoke to the world online.

Twitter Bot

We created a live Twitter bot that acted like a global Magic 8-Ball. Send us a question in 140 characters or less, and you'd receive a video response from one of 140 unique characters stationed around the globe. Here's a sample.

Worldly Experiments

We experimented in the name of experimentation.

People Worth Watching

A docu-series with a self-explanatory title.

Heading Out With...

Pictured here are snippets from a photo series which followed a diverse group of interesting global citizens to see how they enjoyed a beer.

BISCUIT TURNTABLE

A TV ad for Australia's best-selling teenage biscuit snack. Shapes are famous for their loud, punchy flavours you can lick straight off the biscuit. So naturally, we built a human-sized, human-powered record player that turned licks into beats.

HIDDEN CHARACTERS

It's no surprise, but a delightful reminder, that something as private as a password carries a lot of personal information about who we are and what we like.

Hidden Characters was a personal project that got featured in VICE, exhibited at the Hoxton Hotel in Amsterdam, and covered by local news outlet Het Parool. I photographed strangers and asked them to share the story behind the password they were flashing. From a childhood nickname to a decade-old sound card, a ten-year anniversary, or a soft spot for a city they once called home.

PREJU-DICE

One of the creative projects I’m most proud of has perhaps the least to do with marketing or advertising.

Most conversations around implicit bias either shut down or blow up. Traditional corporate DEI training relies on passive lectures and compliance checklists that often lead to anxiety and suppressed dialogue.

I designed Preju-Dice as an independent project to offer a third option: a randomised physical game system that uses absurdity to lower emotional stakes, giving players social permission to be completely honest about split-second judgments. Grounded in cognitive behavioural science (Kahneman’s System 1 / System 2 thinking), the game introduces a structured 3-part framework that gives people a shared vocabulary to observe their own bias mechanics in real time.

What started as an independent provocation has evolved into a practical behavioural tool, currently being integrated into the graduate curriculum at Hogeschool Utrecht and used across academic, clinical, and professional environments to turn unconscious bias into active, shared awareness.

ZOMERHUIS

Amsterdam is a medium-density city, which makes any patch of garden a sought-after thing. Most residents don't have gardens, opting instead to lease a garden house. A small patch of land shared as part of a community, with room to build an outdoor space to visit, cultivate, and relax in.

A private outdoor paradise within a dense urban environment, these spaces give owners room to express themselves. In fact, these little houses are often a direct mirror of the people who build them.

THE MESSAGE

A crowd-sourced short film created like a digital chain letter.

To engage a teen audience on social, we handed the creation of the campaign over to the creators themselves. We built the architecture for a crowd-sourced narrative that functioned like a digital chain letter: one content creator started the story, passed the narrative thread to the next, and let the community steer where it went.

We brought together a mix of talented creators to bring their own style to each segment. Individual submissions were stitched together into a cohesive, fast-paced short film called "The Message". A campaign that bridged the gap between social content and cinema, which premiered in a local cinema with the creators as special guests, enjoyed together with the fans who helped them make it.